Ars Nova - Solstice (Winter 2022) Concert Thoughts

Because I should wrap myself around this music as much as possible.

In order of what's on my playlist, and not in concert order (because I don't know that yet):

• Vox Clara Ecce Intonat – Gabriel Jackson: Confirmed the first song in the concert; introductory chant not included in the link. Contemporary, published in 2015. A soprano saxophone showcase. Tough rhythms here and there. Small text as well, so will have to write this out or read this in real life. Also will have to tap out to get rhythms in my head. The section where baritones sing Gb starting on p. 5 will be tough. May have to play on the piano while listening to get that entrance. Personally, not really my favorite.**
• Christ the Apple Tree – Stanford Scriven: Pretty, in a very simple but elegant way. Lots of what I call St. Olaf chord progressions: the melody is a bit hard to discern, and there is no real resolution when you expect it. Nice low bass/baritone section once you get past the tenor section. Generally, I like it.
• Ave Regina Caelorum – Alexander Campkin: The post-rock, almost Voices of Light-esque piece. Seems simple at first glance, but actually may be the toughest piece of the whole concert. This will require a lot of listening and watching. Eight parts, most of which are singing at the same time. Long notes. The sopranos and altos have descending quarter-note phrases that become identical triplet phrases, then eighth-note phrases, seeming to speed up while the meter stays constant. This will make synchrony difficult. Also, a long one: 27 pages. When it comes together, it will be gorgeous and intense. Until then, it will be arduous.***
• The Shepherd's Carol – Bob Chilcott: Similar to Christ the Apple Tree, including to how it starts will unison women, gradually incorporating men. (Basses only come in at m 13, with a meter of dotted quarter = 36.) One of the easiest; no need to spend much time here.
• Hail Mary – William Dawson: The token spiritual. Longer and intense, yet also borders on the type of easy listening that was around when I was a kid; I'll call it KOSI music. It would be easy if it weren't for the two rapid-fire middle sections that test us basses out. Writing out the words and repetition will be key to knocking these out perfectly.**
• Quem vidistis pastores – Richard Dering: A Renaissance/early music piece; During lived c. 1580-1630. Think William Byrd. That constant meter that seems to slip past you when you hit those eighth-note runs, particularly during the "Alleluia, alleluia, alleluia" section. A fairly quick song, and not too hard.
• Sing to the Moon – Laura Mvula: Can I go off? Let me go off. Contemporary, almost jazzy. Really not my style. A composer trying to come up with something catchy and fun, but it just sounds masturbatory, with no real direction and annoying lyrics. No need to spend much time here, really. Sine Nomine would be happy to do this one. And I would have been happy not to.
• Es Ist Ein Ros Entsprungen – David Niels: Bring on the Teutonic carol of old! Frau Helga the Stout would love this one. Wagner would be proud. I enjoy this one, too. Will be done with a soprano sax, but a church organ would be more fitting, I think. Makes me want to learn German. And have a shot of peppermint schnapps afterward.*
• Ave Regina cælorum – Tomás Luis de Victoria: Another early music one (1548-1611). Simple. A few relatively quick speedy sections (what are those called?) that will require some eyes on Tom, but otherwise, low and fun. Right up my alley.*
• Un Flambeau, Jeannette, Isabella – Tom Morgan: Not sure what to make of this yet. Will have to see what it's like outside of the recording, which is a bit annoying. The end is also a bit weird; I always seem to be one measure off from everyone else, and I have no idea why.
• Quanta Qualia – Patrick Hawes: This should be the ending song. Contemporary. Long bass phrases, comforting, easy as an evening fog rolling up a valley. Really, I don't think it's too hard.
• Mary's Lullaby (Silent Night) – Fredrik Sixten: The last song/encore. Not a crowd singalong, that's for sure. Tuneful but severe, stately—and again, Teutonic-flavored—carol with unexpected chord progressions and a clear soprano solo. Shouldn't be that hard.

So. In total, 12 songs, 5 of which will need some attention, and of those 3 that will really require drilling between now and then.